Digital Workflow

I get many e-mails about digital work flow. Some e-mails are asking me to give a work flow for they can get started, others ask for an evaluation to see if something can be done better.

I'm not sure if anyone noticed, but my work flow evolves and changes over time and my work flow doesn't work for everyone else. Nor can it. But, it's not a bad idea to listen to other's work flow. You can always find a gem.

There is not any one way a work flow can be done to suit everyone. There are too many variables that make each person’s work flow a little bit different than the next persons. Also, a work flow isn't set in stone. Because of variables the work flow system evolves. What variables you might ask? Here is a list to get you started:

• file sizes
• file types
• color spaces
• for print or for web, or both
• average frames per-shoot
• how often do you have sessions
• computer speed
• JPG (please no!) or RAW?
• Converting to DGN?
• storage capabilities
• seasonal or full time shooter
• time it takes to retouch
• what level of retouching needs to be done
• single user or multiple users
• MAC or Windows or Linux
• what software is being used
• work in one location, or many
• how many files do the customer see compared to how many you shoot
• how quick do the clients need to see their images

As you can see there is a lot that can make a work flow different and a lot that can make it change. Over the years I have come to realize the quantity of images is a good place to start on work flow. Most shooters that shoot 500-1000+ images per shoot will have a similar work flow. Not the same, but similar. Those shooters only shooting 60 images a session won't have to have such an extensive work flow. Also, depending on if you are a jpeg (shame on you!) or raw shooter, your work flow will be different.

Speaking of raw shooting, did you know that if you are in JPG mode your camera is still shooting a raw file then converting it to a JPG? Why waste that time and battery power in file converting inside the camera?! Why waste 4 to 6 bits per pixel of data when it's going to capture it anyhow?!

Above is Roberta. She always has a killer swimsuit to show off. This is the only shot I took of her on the beach, my camera broke immediately afterward. It's currently on its way to the company for repair.

Comment if you have work flow questions.

Satisfied Client

Here are a few words from our client about the Grandkids at church! session.

"These are tremendous!"
"We could not be happier with the photos . . . They are truly works of art!"

Grandkids at church!

One of our sessions this month included 7 grandkids and a miniature church. This miniature church located in Groveland, Illinois is well-known in the area for a place to tie that knot. We have shot a wedding or two there in the past, but not the kiddies!

This session, or event as I would call it, took about 1.5 hours and was fairly enjoyable due to the kids having good attitudes. Lucky us huh? My wife and I each had a camera and a few lenses close by knowing that we would be all over the place. We started 30 minutes beforehand by cramming into the tiny chapel and choosing the best place to shoot. This also involved where the lights are going to go, do we even needs them, and where are we going to be shooting from. I don't have a great shot of the entire interior, but here is a 35mm shot that reveals about half of the interior and a few kids not paying any attention to me! :) Tech specs are at the end of this post.


I shot that first image above as they were running into the church. Immediately after that shot I ran towards the church doors. As I got closer I heard one of the family members yell to the kids "don't go in yet, they (us, the photog's) may not be ready!" PERFECT! I got inside as the kids ran back out which gave me the chance to capture the shot to the left. I decided to sepiatone some images because we were told before hand that the kids would be dressed in 60'ish vintage type of clothing.
What was a surprise is that the night before we found out that we were NOT shooting at their home, but instead at this miniature church. I figure, "hey, it's better than a living room!" I usually go with "don't pass up a unique setting!"

We figured that since we were not in a living room that we would go outside and see what there was to play with. We said nothing and watched where the kids naturally ran to. There was this awesome tree that screamed for kids to climb. This opened up many opportunities to capture the kids playing and not being coaxed into "smiling." I went with a sepia-like toned image, but with more color. I really wanted to push the vintage feel for them. I wanted the images to look like they were shot at that time period.

There was also a well that we played at for quite some time.



We ended our session with headshots of each child, but right before that I couldn't pass up shooting the guys (and girls) together while sitting on the church entrance steps. I mean, the place was built for kids right? Maybe not, but it sure fit their heights! I processed this image much different from the others. It reminds me of pictures of my father when he was young. It's like the images had some sort of color overlay on top of a black and white.

Tech Info:
Images inside the church: Alienbee800 softbox for a main and an unmodified light bouncing off the ceiling for fill.

Images on the church steps: Alienbee800 to camera left to fill in shadows.

All other images: no studio lights, Canon 10d and 20d with various lenses.

It may be dark, but lights are portable!

I'm always amazed by what can be done with photography. There are many dimensions to explore that allow control of any given situation. And not only control, but the ability to change what the camera is seeing compared to what is actually seen on the set with our eyes. This is where taking a picture turns into a vision being created. But, not all vision involves setting up lights and controlling everything.

This is a main factor that stands between me and my wife's approach to shooting. She is energetic in capturing the way life is. She creates wonderful images that posses feeling without ever having to setup studio lights or planning a shoot. (I'm actually quite jealous of her simplicity!) Check out her recent tear from her Tanzania trip.

I, on the other hand, have a vision of creating images that involve setting up lighting and controlling everything in front of the lens. I think what is more important than choosing your approach is to discover what approach you naturally fall into. Like they say, "knowing is half the battle."


When it comes to creating a vision, there entails a monster list of things to think over. But, other times it's very simple and takes little to create. It all depends on how big your visions is and also how well you stick with the K.I.S.S. rule.

I recently ran across some really fun in-camera color work from joserra puelles flicker account. Check out this link for some interesting approaches to in-camera color. It's subject matter that is right up my alley! (aaand not so much my wife's :)

If you know your vision isn't being reached, I suggest starting by finding people who you see have vision. If you want to think visionary, follow those who already think that way. I have many artists floating in my head that have great vision and direction when shooting. In fact, I added to the right hand column ("artists links that interest me") a bunch of links of other artists work that I personally enjoy. I hope you find a gem for yourself there.

The above is another image of Maria. This is one of those images where if you were standing there, it didn't look anything like this. It was totally dark outside. This was shot using one AlienBee as the main light and an off camera flash for a hair light. Almost as simple as my wifes approach! A big thank you to Jeremy Sparling for allowing me to use his flash and also for manning it during this shot!

High Lighting

I have always wanted to shoot with my lights higher than what the stands limit me to. I got that chance last weekend when I had a boom stand available. I feel pretty good about the outcome. Thanks to Chelsea who prepared by obtaining couture clothing from several different designers.

Above Chelsea is a soft box and behind her is a gridded strobe for separation. She is natural in fashion posing so she felt comfortable striking something fun and strong. A bit of tweaking of chin placement to the light and there it is.

A big shout out to Kate Carroll, one of the best make up artists that I know who worked on Chelsea for this shoot. Heck, she taught me how to do make up and I translated those ideas into Photoshop!

Hit the Lodge 2008

If you haven't ever been to a photography event I would suggest any of the Supershoots events. More specifically the Hit the Lodge event.

Hit the Lodge is Supershoots biggest yearly event that I have attended twice now. It's a great place to stretch your knowledge in photography. From classes that are taught by those that have "been there" and "are there" to learning from other attendees. It's impossible to walk away without learning 100 new things and gaining some great images.

I'm still finding my pocket in photography, which proves to be a long hard road but enjoyable to walk. It's tough to learn and discern styles of photography. Especially glamor versus beauty. It's sort of like arguing Ford or Chevy at times. They blend on so many levels, but at the same time they are completely different in approach and goal. More on that in the future.

When shooting my mind is usually wrapped around the models personality and look. I try to make the best of whatever I'm shooting, and if i can I mix in a bit-o-fun.

Above is Maria. She is a friend of mine that attended her first Supershoots event last weekend. I have not shot her before and she hasn't done modeling at an event. She asked if we could shoot together in the morning before the event started to work on communication and flow. I believe she did a fine job! She fit in incredibly well and had a great time at the event. She will be back for events in the near future.

You can learn about other Supershoots events at supershoots.com.

Canon 20D
f/2 @ 1/125th
50mm
Strobe + White Umbrella

Headshots and miniscule movements!

Head shots involve so many variables in angles that it's almost infinite on what the outcome may be. As I scrolled through my shoot of about 45 shots I realized that one image looks ok and then the next where I shot within 1 second later looks totally awesome. They are almost identical yet one jumps off the page where the other doesn't. I'm excited to (re)discover angle relationships and how they can impact an image. Make it a goal to understand what angles make an image jump off the page and/or what other variable in relation to angles makes this happen. Maybe it's a correlation between facial expression and posing angles? Maybe it's the lighting incidence angle? Maybe it's nothing at all and simply preference.

Two light setup. Softbox on left and background light. I used a $1 car visor for a fill and since my white shirt was reflecting in the glasses I took it off (I had another black tee on) and used it to diffuse my background light. For post processing I decided to use a split tone green and remove some saturation.

(click image for detail)

f/3.5 @ 125th
ISO 100